((Messaged to me via facebook, edited and shared here.))

Quick note .. Our lead singer works with disabled children and had a trip planned with them to Disney .. He couldn't be there .. We had a back up bass player also .. What your hearing is straight up jam .. We even added another guitar player (who never played with us) .. So yea it took the first song to get together .. But I thought we did good under the circumstances .. Also Neal never sings so that was also a pleasure .. Thank you again ..

Here' the line up of players
Neal Goree - Singer Lead Guitar
Chris Skeen - Singer Guitar
Kevin McCann - Bass guitar
Steve Howell - Drums
With very special guest
Roosevelt Collier

Paul Levine stepped on stage to thank everyone for coming to this second of Rosie’s Getdowns. Then he introduced a band few of us knew anything about: Cooter Brown from Tallahassee. I assure you we do now!

It took Cooter Brown all of five minutes to garner our complete attention. This quartet (Terrance Williams, Neal Goree, Steve Howell, & Kyle Chervanik) plays bluesy swamp rock, and they were pure dynamite. This was actually the last performance by this configuration, because guitar player Neal Goree is moving to Colorado. To say the band went out on a high note would be an enormous understatement.

After the first rocking tune, they launched into a blues tune, which then morphed into “No Particular Place to Go,” a unique arrangement. The third song began as a Booker T. & the MGs’ vamp, only to turn into “Bowlegged Woman, Knock-Kneed Man.”

And then it just blew up. The drums and bassline of Jeff Beck’s “Freeway Jam” emerged, and they absolutely nailed it. It was stunning. Goree then stepped to the mic and said, “Now we’re going to play what we do best: raggedy blues. A wicked version of “Born Under a Bad Sign” (a Booker T.-penned tune) followed, with brief teases of “Who Knows” and “Red Hot Mama.” OH DAMN.

Another great surprise was next in a powerful “Tale of Brave Ulysses.” Then the man of the weekend, Roosevelt Collier, strolled out with his lap steel, and they tore up “Boogie Baby.” For their last tune, Cooter Brown began a minimalist take on “Rock Me Baby” that was languid and raw. After about two minutes, Goree said, “That’s the old way to play it. Here’s the new way.” (I possibly paraphrased here, but close enough.) Then they blew out a full-on rock version of “Rock Me Baby.” It was a triumphant last show.